Change Your Image
jason-harre
Reviews
Morvern Callar (2002)
Aftermath of tragedy
Morvern Caller
The aftermath of tragic events can take quite a psychological and sociological toll on an individual. This was the case with Movern, a woman living in a small port town in the west of Scotland as a 21 year-old supermarket employee. One morning Movern found herself before her dead boyfriend whom lied on the kitchen floor, as a result from apparent suicide. Remarkably without telling anyone she rather propels herself on a journey to the south of Spain along the way transforming her life.
As Movern uses her late boyfriend's funeral money to cash in the life altering journey, she drags along her best friend Lanna. Still depressed, Movern, is skeptical about jumping back into life. However, Lanna quickly drags her out of the shadows and back into the life of partying. They attend raves and begin to get caught up in drugs (mainly ecstasy) and alcohol.
The most affluent way that people deal with such tremendous heartache is through the usage of drugs and alcohol. Why these tools for relaxation have become the means for liberating one's emotions are not justified. Alcohol and other drugs only lead to repercussions and further dramatic life altering decisions. This was easily proven throughout the film's entirety.
This film is based after a cult book and is Lynne Ramsay's second film preceding the highly acclaimed Ratcatcher (1999). It is no wonder then that the film takes a twist for the stranger when Movern sells her boyfriend's journal as her own in order to reap the profits and live her life out. Being based from a book from a cult this movie is not out to shock but it does have its occasional scenes that provoke. As an audience member this film could be considered controversial on some levels but non-the-less is enjoyable and rather moving. Drugs are not the answer and although this film does shed light on the notion that there is a way out for some. It leaves me rather depressed thinking about how many others can not find the strength, opportunity, or will-power to urge themselves out of the same problems.
The Royal Tenenbaums (2001)
A Crisis of Brillant Production?
Royal Tennenbaums: A Crisis or Brilliant Production?
The Royal Tennenbaums is one of those films an audience either loves or hates. There is very little leeway for those whom are not opinionated. One might claim that they neither loved nor hated the film but upon further analysis, a confirmation of new thought would be unfaltering. The script was extremely well written by Wes Anderson and Owen Wilson. The quirkiness displayed thoroughly through a star-studded cast lead to a reprimanding sense of dry-humor. With characteristics of the movie this acclaimed why then would some love this film and others hate it? Could it be the quirkiness was too over-the-top and much like a Woody Allen film, fans and critics debate its prominence within the industry leaving no chance for a middle ground. Just love or hate of the film. Possibly, it was something much more basic. Wes Anderson (Director of Royal Tennenbaums) had the resource of a cast that was perhaps, too superior for their roles. How was this cast of stars emasculated? The connections and reasoning is feeble when thought about chronologically. Wes Anderson and Owen Wilson co-wrote the film. Therefore, Owen was a shoe-in for one of the roles. Owen had the benefit of the doubt from a long time friend Ben Stiller. Both Ben and Owen starred in Zoolander, a movie made by Ben. The two of them are quickly forming a brother-hood in the industry that can be compared to Ben Affleck and Matt Damon throughout the 1990's. While on the topics of brother's Luke Wilson is therefore obviously a keen candidate for another role being Owen's actual brother. Owen Wilson and Hackman must have felt the groove in this film because they went on to shoot Behind Enemy Lines together. Bill Murray lured by the fact that it was another Wes Anderson movie. Both Murray and Anderson worked together on Rushmore, Andreson's sophomore film that was a tremendous success. Gwyneth Paltrow was available through association, knowing many of the actors from previous work and other events. With a cast compiled of this magnitude, it is no wonder that it was easy to bait Angelica Houston, Danny Glover, and Alec Baldwin. All of whom have had illustrious careers but are non-the less dwindling downward and may have possibly been looking for one final hurrah or a jumpstart back into the business. If Hollywood were a small town, it certainly is getting smaller. Much like Rushmore, Royal Tennenbaums' script is a brilliantly composed work that is full of dry humor. With exceeding pressure for Anderson to outdo his sophomore performance, he may have stepped out of his boundaries with this piece however. The cast are brilliant individually however the demand for a collage of talent to produce an irrepressibly amazing film was impossible. Wes Anderson might have been caught up in the good times due to the fraternity reunion of cast in which he was directing. This forced him to lose his focus and control over the production that he had sustained through the filming of Rushmore. Royal Tennenbaums maintained its success at the box office primarily because of the cast and not the plot nor Wes Anderson's direction.
Caddyshack (1980)
Landscaping Changes
Caddyshack was distinctive in shedding light on the fact that it doesn't take a great script to produce an eminent movie. The film was originally planned out to be more oriented around the youthful character Danny, played by Michael O'Keefe. Being Harold Ramis' directorial debut it was not shocking to see a slide of importance from the youthful Danny Noonan to his search for a male role-model. The script claimed O'Keefe to be the main character; however he noticeably took a back seat to the slapstick comedic performances of Bill Murray, Rodney Dangerfield, Ted Knight, & Chevy Chase. With a cast of this irrepressible quality it was simple to adhere to the demands for improvisation and omitting lines for more comedic séances. O'Keefe's character Danny Noonan was still the essence of the film by bringing out teenage-life issues such as college and poor grades. At Noonan's age, society and other forces create the need for a decision to be made about his future. Much like most other teens he had no clue and was searching for guidance. That guidance came through golfer Ty Webb who played more of a father figure role to Danny. Comparatively, Danny favored Ty as a role model rather than his own father whom seemed more of a typically oppressive figure. This was an important tie in with the audience because it is typically how all members of this age range view their parents in middle class suburbia. Even with a drastic changing of the tides with the script, O'Keefe could still be considered the star of the movie due to the fact that his character was the most sought after by the camera. However, the big name comedians slated on top of him even on the cover-box, leading to a less successful future than at first he had aspired. After Caddyshack, O'Keefe virtually fell of the face of Hollywood, only making minor appearances in some later blockbuster films such as The Pledge, Ghosts of Mississippi, and The Glass House. Never having a truly successful independent starring role O'Keefe is still searching over twenty years since his first starring character as Danny Noonan. On the flip side of the spectrum Bill Murray's character became an icon for the picture when at first Carl Spackler was slated to have fewer lines than a sheet of notebook paper. With Murray's uncanny ability to improve his Spackler took on a whole new dimension. From the background into the foreground, Spackler became as popularly associated with Caddyshack as Smails, Webb, and Noonan. As a result, Bill Murray's career outside of Saturday Night Live sky rocketed. He went on to star in an esteemed list of films such as Stripes, Ghostbusters, What about Bob, Groundhog's Day, Rushmore, and many more. Noonan's antagonist D'Azunnio was originally scripted as the second leading man. However with Knight and Dangerfield grabbing attention with their non-stop hilarity he quickly sank into the shadows. It was obvious that this film was a great success due to the improvisational skills of Knight, Murray, Dangerfield, and Chase. However the toll that was taken was to the careers of O'Keefe and his fellow youthful co-stars. Personally, I am grateful though because a series of movies starring Bill Murray sound much more appealing than Michael O'Keefe. Then again, I guess we'll never know.
Pink Flamingos (1972)
Representing Society's Past
Pink Flamingos: A Representation of Society's Past
Pink Flamingos, a film directed by John Waters in 1972, is a very disturbing portrayal of the negative impact a traumatized childhood can have on future life. Babs Johnson grew up in a very non-typical home. Blatantly, you can see the impact this had on society through her actions up to the ending where she engulfs dog feces. Was this film just some sick and twisted perversion of endless gut-wrenching occurrences, or was it symbolic of something much deeper? To side with the first would be the easy way out and to the side with the latter might seem demented, but possibly true. The film does have some credible resemblance to actual events of our societal past. Every leader that we as people view as `horrible' displays similar characteristics to those of Babs Johnson. Ivan the Terrible, Genghis Khan, Adolph Hitler, and Joseph Staling all had `troubling' childhoods. Babs Johnson had a troubling childhood and therefore is associated in the same class as all of the previous mentioned rulers. That is why a great deal of her actions throughout the film can be seen as disturbing. However, were her actions her own fault or society's for letting her grow up the way she did. Furthermore, each character in this film represents either a past leader or event. Another coincidence is Edith's obsession with eggs. With an open mind this can be tied into the genocide and Hitler's attempt to annihilate the Jews. Some view Hitler as a genius, others a mad man. John Waters must have seen him as a mad man because his representation Edith was indeed mentally ill. Edith's son Crackers and traveling companion Cotton are symbolic of what was wrong in our own backyard, slavery. Both names, are slang terms that represent a time period that most of us would rather forget. Theses characters are crucial in terms that it points out that in some times, our society in America was no better than what we often view as horrendous acts of social onslaught in other cultures. The chicken f**king scene is the epitome of what was wrong in our society in this time period and is still wrong. Chicken, is a 1970's slang term for woman. Therefore it might be possible that John Waters were trying to bring out the subject of rape through Cotton and Crackers actions. The antagonist family, if a single antagonist can be determined in this film, was the Marble's. Marble is often mentioned in association with wealth. Therefore this may be symbolic of the struggle between the poor and the wealthy a fight that still continues on today and will probably continue on forever. Pink Flamingos is a monumental film for its disturbing scenes but should also be noted for its camouflaged political agenda that Waters displayed so affluently throughout its entirety.
Monsoon Wedding (2001)
Contemporary vs. Traditional Ways
Monsoon Wedding: Representative of a Changing Society Contemporary views have struggled in the battle with traditional ways in New Delhi, India. This concept most aptly seen in one of India's largest markets, cinema, has dramatically impacted society. Monsoon Wedding, a highly acclaimed film by Mira Nair is the epitome of a changing culture in India. The movie summarizes a Punjabi family whom is brought together for an arranged marriage. The foremost problem with the family gathering is the difference in opinions between the parents and the generation that ensue them. This film is not only representative of India and its struggle between the dot-com era and more traditional views but of an entire genre of movies that have adapted to benefit in changing times. Over the past few years if a festival were not handing out awards for a patriotic and propaganda filled war film then it was beseeched with praise from a distraught and broken down family struggling to make ends meet with a bizarre twist of an ending.
Case-and-point 8 Mile, a film which faired very well at last weeks Academy Awards portrayed the epitome a broken family. To think that just 30-40 years ago shows such as `The Brady Bunch' and `The Partridge Family' dominated the airwaves. Divorce and domestic violence claiming a much greater abundance in today's society have become capitalized and marketed much like a late night infomercial, pounded over-and-over into the brain of society. The lifestyle in these films are still not acceptable but rather tolerated with the conclusive idea that something bright might be attainable at the end of the tunnel. Betrayal, abuse, & adultery have become fixations on representing what occurs in a typical family. This saddens the hearts of few but merely is entertainment for the masses that gather around the television or voyage out for a Saturday matinee. Cinema that represent this negative aspect in society are not faulty nor the causation of what in actuality it does portray, but rather a strategic marketing tool for success in the film industry. Reluctance does not falter at the idea that cinema is trying to display a reality found in society but rather the need for audiences to view this over-dramatic representation of their own lives. Sickeningly, I'll be first in line with a bag of popcorn in my hand.
Los amantes del Círculo Polar (1998)
Reoccurring Theme, With a Twist
There is a constant and reoccurring theme in romantic cinema that rings throughout the world. Boy meets girl, problem occurs, and some driving force brings them back together by the end of a 90 minute production. Often times they are brought together to live a happy and fulfilling adulthood. If not, they are united together for an emotionally uplifting adieu. In the film `Lovers of the Arctic Circle' the latter of the previously mentioned occurred. Whether Otto and Anna finally came across each other's paths in reality, the afterlife, or in a dream state of mind the imperative aspect is that their characters were relieved upon sight of each other in the apartment. The movie could have been interpreted in numerous different ways but even those whom thought death had resulted should see liberation in knowledge that they were eventually together again. Throughout the entirety of the movie the theme of coincidence surfaced. Every few moments an element of coincidence played its card and brought Anna and Otto a hair's width from each other's arms. In the movie `Serendipity', with John Cusack and Kate Beckinsale, the term destiny was coined to help promote the movie. After more thought the term destiny and coincidence become harder to differentiate. The two movies themselves pertain many of the same themes and characteristics. Both of which revolve around searching for love with a theme of nature to nurture the plot along. `Serendipity' tended to with the seasons in a year and `Lovers of the Arctic Circle' manipulated by the sun never setting and a day never being felt as complete or whole. In both films the character's journey onward but reluctantly miss out on `golden' opportunities in finding each other. What makes the difference then in whether the film should be marketed with the terminology coincidence or destiny. The word choice used for marketing indeed makes a world of difference in portraying what the director or writer is trying to exhibit. Destiny alludes to the fact that the ending more than likely is going to be happy. Coincidence on the other hand leaves a more open format for interpretation. As proven in `Lovers of the Arctic Circle' the ending is unknown and leaves the audience both baffled and arguing amongst themselves. The difference between these two words is what primarily attracts a given audience into assumptions that only the writer or director would be able to facilitate. While the reoccurring theme of boy meets girl, problem occurs, and some driving force brings them back together will continue to occur. How they are brought back together may not always be summed up in one word.
Daughters of the Dust (1991)
A Swing for Change
Turning the Page for African-American Films
The mid nineteen eighties and early nineties were chock-full of films displaying discriminating evidence against the African-American community. Films such as Boyz in the Hood, Menace to Society, and Friday demonstrated a stereotypical theme of gangbanging hoodlums that settled into the minds of the nation. If films representing the African-American man weren't incriminating enough, the alternative option was misrepresentation through the music industry. Milli Vanilli, once proven unauthentic, made an embarrassing impression that is still humored on late night television. MC Hammer, LL Cool J and other music artists help to upturn the music industry with their ability to direct trends for urban culture. Artists fresh new styles were a simple antidote for one industry. However, the film industry was still rendered and in search of its hero. The hero finally came in Julie Dash's Daughter's of the Dust in 1991. A deeper search than black baggy pants had to come along for an impact to be felt. The deeper search led Julie Dash into African-American history and a peasant family from a subculture known as Gullah. Dash's poetic portrayal relieved the nation's minds of problems in the black community by celebrating its past. While the film was still very dramatic, it was able to capture the audience with its breathtaking scenes. Most famous of which was the picnic scene that the family found itself in a debate of traditional and modern ways.
This film had its twist and turns but made a lasting impression with its individuality from other films. The characters all had climatic problems, but were portrayed as free and independent from the hardships that are faced by poor urban society today. This made for a break in the downward trend of a current representation of the black community. Jokingly, this film should be more highly regarded than even MC Hammer's legendary baggy pants.
Der Himmel über Berlin (1987)
Deception not Key
Deception Not Key in Wings of Desire
From the opening frame to the credits, this movie was blunt in its tone not to try and mislead the audience. Wings of Desire, directed by Wim Wender in 1987 is a romantic comedy that has a more popular remade English version entitled City of Angels. The plot was not needed to be spelled out in order for the audience to understand Wender's concept that life's simple pleasures and the inherent beauty in everyday occurrences should not be overlooked. This was portrayed through the character Damiel played by Bruno Ganz. Damiel was an angel whom longed for life's simple pleasures that he could not have, included were the five senses with resulting emotions such as love. By the end of the film, Damiel finally got his wish and was able to experience them all including love with the trapeze artist Marion played by Solveig Dommartin. Through the contrasting images of a black and white screen associated with the angels, clashed against the usage of color when dealing with the rest of the world the film was able to draw out the dullness that life would pertain if one was lacking. In this scenario lacking the experiences of everyday life. The film kept a comedic edge through Peter Falk. The scenes with Falk were intended to keep the audience from being beset by their own ignorance in ignoring life and becoming depressed. After all, Wings of Desire is a love film and with too much melancholy with in the self, love may be over looked or considered insignificant. Falk did a tremendous job humoring the audience with his frightening paranormal conversations and Columbo persona. The only aspect of the film that temporary removed it from its lofty pedestal was the concluding love seen. I agree that it was very crucial for Marion to express her love thoroughly because quite frankly it was Damiel's first true experience. However, by about the sixth line it was becoming blatantly obvious what her intentions were and the continuation of cheesy and meaningless lyrics were unnecessary and to drawn out to be fully enjoyed. The succeeding lines of childhood and life were ample and heart-felt. These put the audience into a trance of thought about self-reflection and mended the film to its original stature.
Although the concept of angels may seem far fetched to some, this film had a much deeper and more abstract meaning. Angels may or may not exist, but the truth is that there are people with physical handicaps who may never be able to experience one of the above mentioned aspects of life. This especially hits a little bit harder home if someone in particular is in the audience's mind. The majority of the audience including yours truly will go home and enjoy aspects such as touch and smell for nearly a week or so before it slips their mind and face-paced society overwhelms the heart once again. However, if for this time period the audience enjoys life a little more than they would have by taking the time to notice nature and enjoy the community they surround themselves with then the film has justifiably served its purpose.
Annie Hall (1977)
Praise Allen
One of the aspects in film that always amazes me is the relationship between those who take the screen and those behind. From the make-up artists beautifying the actress to the lighting crew casting that perfect mysterious shadow, so much goes on unnoticed from an audience standpoint. What is most amazing is the fact that with work shifts of over 12 hours a day for a duration of six to nine months that cast and crew do not argue and resort to violence. One of the easiest ways to avoid confrontations as a director is to cast your self in the leading role. Over the past this has proved to be a daunting task. One success story is Woody Allen. Allen is a comedic director who brings brilliance to both sides of the camera. In the movie Annie Hall (1977), Allen plays a comedian by the name of Alvy Singer opposite Diane Keaton. Woody Allen made directing history with the scene where both characters have a flirtatious chat that is subtitled with what each other's honest opinion is about each other. This humorous scene along with others helped jolt Annie Hall past Star Wars to win the 1977 Oscar for Best Picture. Multitasking is a skill that sociologists have proven to be more woman-oriented. However, Allen defied the odds and was able to direct, write, and act in an effective and entertaining manner. Not to be pessimistic but capabilities of another man finding this much success look gloomy in the near future. Arnold Schwarzenegger is scheduled to direct the up and coming Terminator 3 and it has also been rumored that Sylvester Stallone may be directing another Rocky movie. This pessimism just goes to show that on grounds where athletic glory is unnecessary for entertaining, that brains outweighs bronze. If another Woody Allen were to surface, it would probably be in the form of a woman for this very reason.
Others have failed in the past and Stallone and Schwarzenegger will hold steadfast in proving that others will probably fail in the future. Woody Allen is unmatchable in creative genius, especially since he had to battle the `handicap' of being a man.
Harlan County U.S.A. (1976)
Music plays specific role
Film Review: `The Music Shaping Harlan County USA' Musical themes in documentaries are a key factor in setting the overall mood for the audience. The documentary Harlan County USA accentuates and enhances the validity of this characteristic. Directed by Barbara Kopple in 1976, this feature bestows more than the typical boring news interview with miners on strike in Kentucky. Kopple structures her material to provide tension, vivid characterizations and dramatic confrontations through the usage of music. More so however, it is because of early documentaries such as Harlan County USA that has aided in deriving a propaganda filled news genre of today. In the documentary, music brings an audience not only into a sense of what the times were like in association with the middle of the 20th century, but also is justifiably imposing compassion in the hearts of the viewing audience. This has led to a trend of propaganda found in nearly all news documentaries about controversial topics evolving around human welfare. To acknowledge this topic, the term propaganda must be understood more loosely than its general association with war. Propaganda is not always negative, and is frequently used in news stories to gain sympathy and mix emotions on a specific topic. For instance, if a story is proposed on ABC's 20/20 about child molestation, a theme of insecurity is a requisite for success. There are numerous tools that could be used for developing propaganda. However, the most common and effective tool is music. In the film, music plays a vital role in developing emotions for the audience in relating with the miners and their families. Songs such as `Cold Blooded Murder', `Which Side Are You On', and `The die has been cast now, and a good man is gone' are self-explanatory through their titles in demonstrating the hardship and struggle the miners faced. The images and interviews seen throughout the film help in understanding the facts but these songs amplify a greater amount of sentiment in the audience's minds. Near the end of the documentary `They Can't Keep us Down,' by Hazel Dickens is played to resemble a prominently happy conclusion in the miner's fight. This connotation is contradicted however when a miner states that the fight will continue and hardship will still be faced by many of the older miners whom are nearing an insufficient retirement. The ending of the documentary substantiates that in all fights there is usually no conclusive winner, just influential music to force the audience to support one opponent over the other.